SATB unaccompanied.

Work for Solo Piano dating from 1911.

Arranged in Duet Form for 2 Trumpets-This book - the third volume of duets based on solo repertoire - strives to authentically represent the character of some of the great baroque trumpet solos presenting them for study or performance by two trumpets alone. The top voice by and large is the original trumpet part while the bottom voice stands in for strings basso continuo and in some cases the voice. Thirteen Favorite Baroque Trumpet Works includes Handel's Let the Bright Seraphim Telemann's Concerto and Corelli's Sonata. For intermediate players.This book – the third volume of duets based on solo repertoire – strives to authentically represent the character of some of the great baroque trumpet solos presenting them for study or performance by two trumpets alone. The top voice by and large is the original trumpet part while the bottom voice stands in for strings basso continuo and in some cases the voice. Thirteen Favorite Baroque Trumpet Works includes Handel’s Let the Bright Seraphim Telemann’s Concerto and Corelli’s Sonata . For intermediate players.

Violin Piano. Twarz

Entertaining swinging pieces for the moderately advanced player. On the CD you will hear a complete performance of eachpiece followed by a version containing the accompaniment only.Contains: Beach Party Cool It In a Mood St. Lucia The Chase Cheeky Monkey Minor Incident Double Density If I Love You.

Violin Viola Piano. Davies Pm

Trombone. Hansen

“Zaad van Satan” an open-air musical composed by Bert Appermont attracted an audience of almost 10 000 in 2000. Bert Appermont extracted a highly successful first suite entitled “Saga Candida”. Its sequel “Saga Maligna” is a colourful and varied composition which appeals strongly to the imagination. It is cleverly composed so that each instrumental section features across the many beautiful melodies.

Cheryl Frances-Hoad 's Even You Song for SATB Childrens Choir and Organ.

The three-movement Quo vadis by Erik Bergman is a typical example of his recent coloristic-improvisatory style. It is a dialogue-like duo in which the instruments speak both in turn and together. Their voices grow in a wedge of volume — from silence to passionate outbursts and from the middle to the outer registers. Each rejoinder is usually dominated by a particular mode of playing and figure the most marked being the highly dissonant crashes on the piano and the cello tremoli. The themes of the second movement are based on a medieval Dies irae melody. But their melodic type oscillating backwards and forwards over a small interval is characteristic of Bergman andaccordingly makes its appearance in the other movements too.

A work for soprano voice and piano using text from Shakespeare's 'The Tempest'. A work for soprano voice and piano using text from Shakespeare's 'The Tempest'.

Work for Violin and Piano dating from 1925. Work for Violin and Piano dating from 1925.

Pour Soprano Et Orchestre (Piano Reduction)- Gabriel Fauré 's Chanson De Mélisande for Soprano and Orchestra. Reduction for Voice and Piano. An enchanted dream - poet Charles Van Leberghe's words give us an idea of the audience's enthusiasm at the Prince of Wales Theatre in Piccadilly on June 21st 1898 when the first English language performance of Symbolist play Pelléas et Mélisande by Maurice Maeterlinck was performed with incidental music by Gabriel Fauré . The composer had tasked his favourite student Charles Koechlin with orchestratingthe score. The London theatre's small number of musicians suited the apprentice musician's ideals of clarity and transparency. It was 1936 before Koechlin returned to La Chanson de Mélisande this time to create a version with orchestra published the following year as a Piano-Vocal score. Using autograph manuscripts Roger Nichols and Otfrid Nies have created a new edition of the Piano-Vocal reduction that includes the text of the melody in English French and German. The score contains the 1898 and 1936 variations as well as an informative preface by Otfrid Nies.

These 17 pieces for flute and piano are ideal for every party time and conjure up a variety of scenes to fire the young player's imagination. They have been cleverly written to practise basic fingering patterns and simple technical problems and are arranged in progressive order of difficulty. Many of the pieces are suitable for ABRSM's Prep Test. These pieces are fun to play and conjure up a variety of scences and pictures to fire the young player's imagination. They have also ben cleverly written to practise basic fingering patterns and simple technical problems. The tunes range from the simplest to about Grade 1.

Work for Solo Piano dating from 1913. Work for Solo Piano dating from 1913.

Graded Concert Studies-This volume contains twenty new unaccompanied pieces written in a variety of dance styles including Flamenco Irish Reel Waltz Japanese Fan Dance and Turkish Belly Dance! A demo CD is also included with Steven Mead performing these exciting new solos. This music includes a separate Euphonium part written in Treble Clef.

Harmony Mass- Missa B-flat Major Hob.XXII:14 'Harmony Mass' Urtext from: Joseph Haydn Werke It is well known that Joseph Haydn wrote his late masses to the commission of his last employer Prince Nicolaus II Esterhazy. The 'Harmoniemesse' is the last of these high masses all of which probably received their first performances in celebration of the name-day of Princess Maria Josepha Hermenegild the prince's wife. The present work was given for the first time on 8 September 1802 in the Bergkirche at Eisenstadt Haydn himself conducting. Haydn entitled his work simply 'Missa'. The work has acquired the name 'Harmoniemesse' by reasonof the prominent parts given to the wind instruments ('Harmonie' being a contemporary name for a wind band); the nickname did not become established until the late nineteenth century. Full score and parts (BA4659) vocal score (BA4659-90) and study score format 22.5 x 16.5cm (TP97) available for sale.

from the Opera 'Werther'

Musica Britannica Vol. 22-The 'Cinderella' of Elizabethan and Jacobean secular music consort songs for voice and viols survived both the popularity of the imported madrigal and the fashion for the lute air. An indigenous corpus of music they subsequently influenced the development of the verse anthem.

These multi functional pieces serve the needs of Sax players who wish to come to terms with jazz and improvised musical language. Play the studies by themselves to discover some idiomatic phrasing play them with the CD support to explore the 'groove' and 'feel' of the 'ensemble' or just improvise using the scale/mode from which the pieces are derived and explore some of the concepts in the 'tasty licks' or gain some inspiration from the sample 'impros' on the CD. In short just use this material as you see fit but most of all enjoy!